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This piece was partly inspired by a review of the work of video
artist Pipilotti Rist in the New Yorker on the 27th September
2010, where art critic Peter Schjeldahl wrote that "Her pop
cultural affinities don't unite high and low so much as make them
seem like interchangeable engines of pleasure."

I liked this description so much - and it chimed so well with the
way I think about and work with music - it became a kind of
manifesto for the piece, and prompted the title as I began to
discuss with Nicole the themes of time passing in the
Hourglass project.

My approach was playful and joyous, taking samples from
recordings of Nicole playing the tárogató to make all of the
sounds in the electronic part, and imagining Nicole dancing as
she played the live part, lost in a state of 'flow'.